Tuesday 20 January 2015

The Merchant of Venice - Almeida Theatre Production


Good morning, good afternoon, good evening and goodnight dear readers,

Welcome to 2015! Here's to a fruitful and pleasurable journey.

Mhh . . .

Yes. Let's write!

   As I entered the street aptly named Almeida Street, just off the Islington - Angel connection road, clutching a steaming spiced Apple and Cinnamon tea my heart skipped a beat. So, this is what it feels like to see Shakespeare out of The Globe. The theatre itself is a sort of mixture of art deco 1920's esq reception, box office and bar area neatly situated alongside a more traditional red brick building which is the theatre proper. Seat A 22 is in my view by far the best seat in the house. My seat for the evening. Front row of the dress circle up in the gods I was centre line of focus to the array of colours and energy some ten foot below me on stage.

Opening in a Las Vegas Casino Esq stage setting I wondered what have they done to one of our bards finest comedies. Or is that comi-traj? We open to a scene initially quite disconcerting I'm sure to the Shakespeare faithful. Dressed in 1920's/30's esq attire the scene before us conjured up some mis placed inertia for an anything other than cosily furnished period traji-com. Or comi-traj. Or just plain comedy. It was to my mind though wholly enjoyable and psychologically appropriate to set-up the forthcoming gamble, turmoil and game of love about to unravel. So, a win in my book.

  Shylock was exceptional in his depictions of a Jewish money lender. Capturing the Yiddish accent, the stoop of a man weighed down by society yet still able to conduct a hilarity to his role.
Was he a convincing Shylock? Not in my view.
Was he a convincing character in its own right? Yes indeed. And hugely watchable.

As the play unfolded we were treated to a rising settee where Portia and Nerrisa sat as if gazing to a camera, taking on an 'Old wives Tale'  meets an evening in front of Cilla. Match maker Cilla Black from the 1990's Blind Date of course. You understand.



Fear and Loathing in Las Vegas attired as 'the boys' sat in a would-be car ready to journey to Belmont in search of love. And the humorously exuberant Vincenzo Nicoli as The Duke strutted about the stage in a dazzling array of energies and humour,matched only by his severity in the trial scene.

At the climax we saw Scott Handy as Antonio attired in a USA Orange onesie. Sorry, prisoner uniform, strung up like a sack of soggy spuds to a chain awaiting his pound of flesh to be ripped from his heart by Shylock.

Sadly not. Insurance. Oh no, apologies, its not actually in the story  is it. That shylock actually gets his pound of flesh, so Insurance can settle back down behind there clipboards.

For me, Vincenzo Nicoli(The Duke), Emily Plumtree (Nerissa) and Susanna Fielding (Portia) rip-roared my attentions into an array of exasperated exuberance. A constant desire and longing to jump down from A 22 and join in at playtime. Scott Handy as Antonio acted as a central focus point for me. When Scott was on stage my eyes followed his silent but deadly expression. Loud voice too. He is one who can most definitely be heard at the back of the room dear! Annunciate!

It is "Among the most exciting productions of the last decade." Michael Billington, The Guardian

Until we meet again through the page, I hope this finds you in sterling health and a happiness

Warmly yours

RJ Wardle